I had all these plans about the work I’d do when I got home today. I couldn’t wait to get back to work on my “I’m not a Ghost” fabric collage. While we were away I came up with a new image for my Corona Kimono. First, I thought, I’ll pack up all the Naked Athena Magnets that I sold so I can put them in tomorrow’s mail.
But here it is almost 6 pm and I’m just getting to blogging without having done any of the things I planned.
It’s too late for me to start creating, my brain doesn’t want to make that leap. So I’ll get the magnets ready for the mail and have a fresh start in my studio on Monday.
You don’t have to take it from me, you can hear Jen, aka Naked Athena speak for herself on the podcast Unrefined Sophisticates.
I found Jen’s protest to be creative, personal, and effective.
So I stitched the drawing from the photo that went viral of Jen on my Corona Kimono. I loved how she found expression in her body to protest the Homeland Security Troops who showed up at the Portland Black Lives Matter Protests.
Although I see more of the goddess Sheila na gig in this image than the goddess Athena.
Sheelia na gig still sits carved on Christian Churches throughout Europe baffling people, and making them think, just as Jen did when she showed the heavily armed troops her “version of what vulnerability looks like”…her “version of power“.
“My nakedness is politicaland it is my expression. She said about her protest.
My Naked Athena Magnets are 3″x4″ and are for sale in my Etsy Shop. You can buy them here. They’re $6 each + $1 shipping for one or more. I’ll be donating $2 from the sale of each magnet to Black Lives Matter.
You can read about how I created the image for this magnet here.
“At the farm, we are both drawn into a love and understanding of nature. It is a part of who we are now and who we are together.”
When I read it I cried, but not just a few tears. I sobbed. Because Jon’s words allowed me to understand and even embody this truth for the first time.
It felt to me like up to that point I was going through the motions of life on the farm, but after reading his words I had landed.
Jon doesn’t spend as much time outdoors as I do. And we don’t spend as much time outdoors together as we used to. It’s harder for Jon to be outside because of his age and medical conditions, especially in the extreme heat and cold.
But that doesn’t change how the farm and the call we both feel to the natural world, is so much a part of who we are together.
I think for a long time because he owned the first Bedlam Farm and I came to live there, I felt a division between us. The farm and animals were his and I just lived there. That grew less when we moved to the farm where we live now.
But this feeling, this truth, of our togetherness is only about place in that it allows us to be in nature the way both of us have a calling to. We don’t need to hike into the wilds, or up the highest mountain. We both find it nourishing to live within the rhythms of the farm, the animals, and the natural world that surrounds us.
I had the feeling when I read Jon’s words that without them I would not have understood this until after he was gone. I don’t know why I felt that. But it seemed like in missing him this would have become clear to me.
I am grateful that I was able to feel the depth of our connection to each other through nature while we are both still here living it.
Through his writing, I feel like I’m the one who got a gift from Jon for his birthday this year. But my love for him has deepened because of it and that’s something I will be continuing to give back.
If I could I would sleep in a room with a wall of windows.
The bedroom in our 1840 farmhouse has four windows, graduating in size from one double-hung window to a single sash window, to two small kneeling windows.
A while back I moved our bed so when I woke up in the morning I’d only have to turn my head to look out one of those small windows. Today when I did I saw Socks, framed by the leaves of the big maple outside my studio, grazing in the cool morning.
I woke up imagining the different ways of attaching the canvas-backed collage pieces to the old quilt back in the fabric painting I started yesterday.
I looked into some fabric glues, but I have this thing about edges and the way things connect to each other.
I wanted the pieces to be more a part of, more integrated with the backing.
So I did some experimenting with sewing the canvas onto the quilt. I didn’t think a needle would easily pass through some of the thicker layers of paper, paint, glue and matte medium, I did bend two needles, but I was surprised that I was able to push them through it all on a scrap from the original collage.
I was happy with the way the stitches looked and how the fabric around it seemed to embrace the canvas collage. I also like the idea that I’m keeping in the tradition of the quilt itself. The front of the quilt has quarter circles (the “sun” in this piece, not pictured here, is one of them) appliqued to it.
Once I decided I would stitch the canvas collages down and what kind of stitch to use, I attached the small square of fabric with the boots drawn on them to the quilt back with matte medium. Then I started sewing.
I got the sheep completely sewn down then started on the girl. I won’t get to finish her tonight. I’ll be leaving for Bellydancing in a little while. But the stitch I’m using around the edge of her is just right so it will be fun to get back to working on it tomorrow.
This is the Seahorse Potholder I decided to keep for myself. Every time I look at it or use it, I’ll be reminded of listening to John Lewis’ memorial service when I made it. And the expansive idea of him as a Founding Father.
I also love the way those two seahorses have their tails linked together.
I still have a couple of Seahorse Potholders for sale in my Etsy Shop. And I’m expecting my Naked Athena magnets sometime today, so hopefully, I’ll have them for sale tomorrow.
I pulled a piece of cardboard from behind my desk and put it on my studio floor. I took out my collage materials and chose one of the collages I started a while back.
I don’t know how long I worked on it, but time seemed to go quickly. Finally, I cut two of the figures out of the collage pulled most of what I had glued on top of the girl off, and drew her a pair of legs.
I placed her and the sheep on a piece of old quilt backing and took one of the appliques from the front of the quilt and hung it in the corner like a sun.
The girl and sheep made of canvas. I haven’t attached them to the quilt yet, I’m not sure how I will, but I’ll figure it out.
As I placed each piece of fabric down on the quilt back, as I drew the legs and boots, I knew it was right. I knew it was saying exactly what I wanted it to.
I know the title too, it’s called “I Am Not A Ghost.”